Skippy Bedelle His Sentimental Progress From the Urchin to the Complete Man of the World — Text and Context
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The source record for Skippy Bedelle His Sentimental Progress From the Urchin to the Complete Man of the World — Text and Context measures this digital text at 65,294 words, 4 hr 44 min estimated reading time, and 10 detected text sections.
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The thought of girls was inalienably connected in his memory with unnecessary washing up; with boring parties; with stiff collars; with unending polishing of shoes; humiliating walks down the avenue, stammering, idiotic phrases, while from every window the eyes of malicious friends were set in mockery. Girls never slid down the banisters or fell out of apple trees, or snapped garter snakes, or raised white mice or collected splinters coasting down the icehouse roof. Girls were always spruced up and shining; always covered with pink ribbons and waiting for callers; always dressing and undressing; always kissing their worst enemies in public instead of giving them a dig in the ribs or treading on their toes and whispering under their breath:
"Wait till I catch you outside; I'll tear the hide off er yer!"
Girls spoiled vacations. It was on account of girls, to give them something to do, that dancing schools were invented; that pews in churches were stiff and uncomfortable; that ministers stormed and threatened until the hour hand had gone its round. In a word, wherever life was drab, or stiff, or formal, wherever prohibitions intervened to check the young impulse, wherever the policing principle showed itself, at the bottom somewhere the feminine sex must be the cause.
Gradually, of course, some mitigation came to this inveterate contempt; gradually he did begin to distinguish between girls as such and women. He saw that some such line of demarcation must be drawn but it was still confused and hazy. Later on it was undoubtedly true that woman must play some part in a man's life; this much he gathered from novels and the ways of those giants to his imagination, the great Turkey Reiter and Charlie de Soto.
Undoubtedly in the long process of evolution from the clam to the stripling, morality was the contribution of the imitative monkey period each boy passes as he merges towards perfect manhood. A thousand supplications, commandings, and exhortations cannot accomplish what the spectacle of a Turkey Reiter or a Charlie de Soto or a Dink Stover instantly achieves in its casual Olympic passing. Such, with all due respect to the efforts of secondary education, are the real moral forces of youth.
When therefore Skippy had made choice of his heroes and slavishly set himself in imitation, he had been unpleasantly disturbed by their evident friendliness to the sex he despised and after much mental perturbation perceived that sooner or later he, too, would share the common lot and actually take pleasure in explaining to something pink and white, with large rolling eyes and smiling teeth, that the game of baseball is played with a ball and a bat and that the fielder and not the batter is chasing the ball, that the difference between baseball and football is that a baseball hurts the hands and a football hurts the foot.
Some day when he grew to be Captain of the Eleven like Dink Stover undoubtedly he would condescend to be gazed at and flattered and fondled. If Dink Stover could stand the way Tough McCarthy's sister hung on his arm and flirted openly before the whole school--why of course in permitting such a display of affection Dink Stover was right, for Dink Stover could do no wrong. Some day, then, like his hero, he would condescend to be adored. Some day his turn would come as they sang at the immortal Weber and Fields:
"For I must love some one, And it may as well be you."
But all this was in the uncharted future. His attitude toward the sex was still the attitude of normal soap-defying boyhood, defensive and belligerent. Yet all this was to change, in the twinkling of an eye, in one short season. The first great disillusionments of youth were at hand and woman with the mask of sympathy and understanding waiting to fashion the man out of the urchin. By what ways, ludicrous and tragically comic, this sentimental progression was achieved is here set down in reverent reminiscence.
Likewise a Declaration of Principles vii
I Fate in a Bathtub 1
II Birth of an Idea 7
III Macnooder Opens Vistas 10
IV Loneliness of Great Men 16
V The Golden Shower 21
VI Methods of a Financier 26
VIII When Friends Prove False 40
IX Snorky as a Lady-Killer 51
X Love Lightly Considered 59
XI The Demon of Jealousy 62
XII All's Well That Ends Well 70
XIII A Woman of the World 74
XIV The Plot Against the Mosquito 83
XV The Tennessee Shad Suspects 94
XVI Experiments in Fragrance 99
XVII Soap and Sentiment 110
XVIII Love Comes Like the Measles 118
XIX The Urchin Begins to Bloom 127
XX The Heart of a Brunette 135
XXI Worldly Wisdom of Skippy Bedelle 145
XXII Girls as an Epidemic 151
XXIII The Blonde of the Species 160
XXIV Result of a Brother's Advice 169
The preface declares a "Declaration of Principles" and immediately establishes Skippy Bedelle's early opinion of the feminine sex as "decidedly monastic." Johnson sketches a boy who regards girls as "unmitigated nuisances," useful only as maiden aunts or grandmothers who tip quietly and bake ginger snaps. The narrative voice is wry and specific, noting Skippy's prejudice is "of long root" and that he was "afflicted with sisters." This opening frames the entire work as a "penitential progress" toward understanding women, a journey the subtitle calls "sentimental."
The Urchin's Monastic View
The early excerpts present Skippy's worldview through a series of concrete grievances. Girls are associated with "unnecessary washing up," "boring parties," "stiff collars," and "humiliating walks down the avenue." They never slide down banisters, fall out of apple trees, or snap garter snakes. Johnson piles these specifics to build a comic but earnest portrait of boyhood prejudice. Skippy even declares, "Girls! My aunt's cat's pants!" when a friend shows interest in them. The voice is colloquial and period-specific, using phrases like "mash notes" and "the skirted animal." Readers should note how the narrator's tone—detached yet sympathetic—shapes this opening section, making Skippy's limitations clear without condemning him.
The Gutter Pup's Gag
A middle excerpt introduces a scheme devised by the Gutter Pup, a member of Skippy's gang. The idea is a "gag" from the old Murray Hill Gang, involving a formal, dead-serious social call on a girl named Connie Brown. The boys—Skippy, the Gutter Pup, Happy Mather, and Tacks—execute it with "no horseplay, kiddin', or rough stuff." They sit "stiffly erect" and answer questions with frozen politeness. Connie, initially delighted, grows panicked as more callers arrive. The scene is a set piece of comic tension, revealing how the boys weaponize etiquette. Johnson's dialogue captures the stilted formality: "I hope your father and mother are well," Skippy says gravely. The excerpt shows Skippy participating in a social experiment that ironically forces him into the very world of girls he despises.
Connie Brown's Cinderella Moment
The same scene from Connie's perspective is equally telling. She is described as "weighing one hundred and sixty pounds, rather freckled, and quite accustomed to watch her girl friends enjoying themselves." The arrival of multiple male callers is unprecedented—"such a thing had never happened before, even in her happiest dreams." Johnson gives her interiority: she calculates the chocolate cake allotment and whispers for more cups. Her enthusiasm gives way to "panic." This shift in viewpoint is crucial; it suggests the novel will balance Skippy's sentimental education with the perspectives of those he encounters. The excerpt ends with Connie "surreptitiously" reallocating cake, a small detail that humanizes her beyond a mere plot device. Readers should watch for how Johnson alternates sympathy between characters.
Progress Through Performance
The excerpts together trace a trajectory from Skippy's blanket dismissal of girls to his active participation in a staged social ritual. The "sentimental progress" is not yet inward—it is performative, a gag that nonetheless requires him to adopt the manners of a caller. The Gutter Pup insists on "dead serious" execution, and Skippy complies. This suggests that change begins with imitation, not conviction. Johnson's subtitle promises a progress "from the urchin to the complete man of the world," and the excerpts show the first steps: learning the forms of adult social interaction, even if the motives are mischievous. The reader is left to wonder whether Skippy's monastic prejudice will soften or merely be disguised. The novel's structure, with its episodic Lawrenceville setting, likely uses such scenes to build toward genuine growth.
These excerpts reveal a novel that uses comic set pieces to dramatize a boy's slow, often reluctant education in social and emotional life. Johnson's style is specific and unsentimental, grounding Skippy's progress in tangible details—ginger snaps, chocolate cake, stiff collars. Readers should attend to the interplay between the narrator's wry commentary and the characters' own voices, as well as the way minor figures like Connie Brown are given their own brief but vivid inner lives. The progress is just beginning.
There’s something tender about watching Skippy shed his boyish certainty, that slow, awkward softening into a man who notices other souls. I found the same quiet ache in The Mascot of Sweet Briar Gulch — Themes and Context, where rough edges don’t so much vanish as grow warm. Both feel like old letters, best read in lamplight, with no need to hurry.
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